Users Guide

for the

C R AT E A U D I O

CMX32

Stereo Console Mixer

In order to achieve maximum performance from your new Crate Audio Mixer we recommend that you read this users guide prior to its use.

CMX32 Stereo Console Mixer

Congratulations.
You have selected one of the finest pieces of Audio Reproduction Equipment available for use on stage, in the home studio, or for institutional use: a Crate Audio Stereo Console Mixer. In order to derive the most benefit from the mixer, and to fully understand and appreciate its flexibility and versatility, please familiarize yourself with the mixer by reading through this Users Guide prior to its use. Thank You, from Crate Audio.

Table of Contents:
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 About This Manual . . . . . . . . . . . . . . . . . . . . . . . . .3 The Mono Input Channels . . . . . . . . . . . . . . . . . . . .4 The Stereo Input Channels . . . . . . . . . . . . . . . . . . . .5 The Master Section . . . . . . . . . . . . . . . . . . . . . . . .6,7 Applications: Basic Mono Operation . . . . . . . . . . . . . . . . . . . . .8 Home Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 DJ Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 House of Worship Installation . . . . . . . . . . . . . . .11 Separating Vocals and Instruments . . . . . . . . . . . .12 External Effects and Recorders . . . . . . . . . . . . . . .13 Equalization Diagrams . . . . . . . . . . . . . . . . . . . . . .14 Differences in Cable Types . . . . . . . . . . . . . . . . . . .14 Gain Level Diagram . . . . . . . . . . . . . . . . . . . . . . . .15 System Block Diagram . . . . . . . . . . . . . . . . . . . . . .15 Technical Specifications . . . . . . . . . . . . . . .back cover

CAUTION
RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

PRECAUCION
RIESGO DE CORRIENTAZO NO ABRA PRECAUCION PARA DISMINUOIR EL RIESGO DE CORRIENTAZO NO ABRA LA CUBIERTA NO HAY PIEZAS ADENTRO QUE EL USARIO PUEDO REPARAR DEJE TODO MANTENIMIENTO A LOS TECHNICOS CALIFICADOS

ATTENTION
RISQUE D'ELECTROCUTION NE PAS OUVRIR ATTENTION: POUR REDUIRE D'ELECTROCUTION NE PAS ENLEVER LE COUVERCLE. AUCUNE PIECE INTERNE N'EST REPRABLE PAR L'UTILISATEUR. POUR TOUTE REPARATION, S'ADRESSER A UN TECHNICIEN QUALIFIE.

VORSICHT
ELEKTRISCHE SCHLAGGEFAHR NICHT OFFENEN VORSICHT: ZUR MINIMIERUNG ELEKTRISCHER SCHLAGGEFAHR NICHT DEN DECKEL ABENHMEN. INTERNE TEILE KONNEN NICHT VOM BENUTZER GEWARTET WERDEN. DIE WARTUNG IS QUALIFIZIERTEM WARTUNGSPERSONAL ZU UBERLASSEN.

THIS EQUIPMENT HAS BEEN DESIGNED AND ENGINEERED TO PROVIDE SAFE AND RELIABLE OPERATION. IN ORDER TO PROLONG THE LIFE OF THE UNIT AND PREVENT ACCIDENTAL DAMAGES OR INJURY, PLEASE FOLLOW THESE PRECAUTIONARY GUIDELINES: ESTE APARATO HA SIDO DISENADO Y CONSTRUIDO PARA PROVEER ANOS DE OPERACION SEGURA Y CONFIABLE. PARA PROLONGAR LA VIDA DE ESTA UNIDAD E IMPEDIR DANOS ACCIDENTALES POR FAVOR SIGA ESTAS INSTRUCCIONES PREVENTIVAS:

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT OPEN CHASSIS; DO NOT DEFEAT OR REMOVE THE GROUND PIN OF THE POWER CORD; CONNECT ONLY TO A PROPERLY GROUNDED AC POWER OUTLET.

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. CAUTION: NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. ADVERTENCIA: PARA EVITAR DESCARGAS ELECTRICAS O PELIGRO DE INCENDIO, NO DEJE ESTE APARATO EXPUESTO A LA LLUVIA O HUMEDAD. PRECAUCION: NO HAY PIEZAS ADENTRO QUE EL USUARIO PUEDE REPARAR. DEJE TODO MANTENIMIENTO A LOS TCNICOS CALIFICADOS.

CAUTION: OUR AMPLIFIERS ARE CAPABLE OF PRODUCING HIGH SOUND PRESSURE LEVELS. CONTINUED EXPOSURE TO HIGH SOUND PRESSURE LEVELS CAN CAUSE PERMANENT HEARING IMPAIRMENT OR LOSS. USER CAUTION IS ADVISED AND EAR PROTECTION IS RECOMMENDED IF UNIT IS OPERATED AT HIGH VOLUME. PRECAUCION: NUESTROS AMPLIFICADORES PUEDEN PRODUCIR NIVELES DE PRESION DE SONIDO ALTO. EXPOSICION CONTINUADA A LOS NIVELES DE PRESION DE SONIDO ALTO PUEDE CAUSA DANO PERMANENTE A SU OIDO. ES ACONSEJADO QUE USE PRECAUCION AL USUARIO Y ES RECOMENDADO PROTECCION PARA LOS OIDOS SI LA UNIDAD ES OPERADA A VOLUMEN ALTO.

PRECAUCION: PARA DISMINUIR EL RIESGO DE DESCARGAS ELLECTRICAS: (1) NO ABRA LA CUBIERTA, (2) NO ES RECOMENDABLE REMOVER O DESACTIVAR LA PATA DEL POLO A TIERRA DEL CABLE DE CORRIENTE, CONECTE CORRECTAMENTE A UNA TOMA DE CORRIENTE A TIERRA.

THE CHART BELOW SHOWS THE U.S. GOVERNMENTS OCCUPATIONAL SAFETY AND HEALTH ADMINISTRATION (OSHA) REGULATIONS WHICH WERE IN EFFECT AT THE TIME OF THIS PUBLICATION FOR PERMISSIBLE NOISE EXPOSURE, PER 29CFR1910.95, TABLE G-16: SOUND LEVEL DBA, SLOW RESPONSE 90 92 95 DURATION PER DAY IN HOURS 8 6 4 SOUND LEVEL DBA, SLOW RESPONSE 97 100 102 DURATION PER DAY IN HOURS 3 2 1 - 1 1/2 SOUND LEVEL DBA, SLOW RESPONSE 105 110 115 DURATION PER DAY IN HOURS 1 1/2 1/4 or less

ACCORDING TO OSHA, ANY EXPOSURE IN EXCESS TO THESE AMOUNTS LISTED ABOVE COULD RESULT IN SOME HEARING LOSS.
EXPLANATION OF GRAPHICAL SYMBOLS: EXPLICACION DE SIMBOLOS GRAFICOS:

"DANGEROUS VOLTAGE" VOLTAJE PELIGROSO "DANGER HAUTE TENSION" "GEFAHLICHE SPANNUNG"

"IT IS NECESSARY FOR THE USER TO REFER TO THE INSTRUCTION MANUAL" ES NECESARIO QUE EL USUARIO SE REFIERA AL MANUAL DE INSTRUCCIONES. "REFERREZ-VOUS AU MANUAL D'UTILISATION" "UNBEDINGT IN DER BEDIENUNGSANLEITUNG NACHSCHLAGEN"

CMX32 Stereo Console Mixer

Introduction:
In the world of professional sound reinforcement and audio reproduction there is no room for compromise. It is absolutely vital that the emotions of a performance are projected to your audience, not just sounds. Your new Crate Audio CMX32 Stereo Console Mixer is a powerful tool which allows you to successfully bridge the gap between performers and audience without losing any of the life of the performance in the process. No matter what your particular application, your Crate Audio mixer is ready to meet the challenge with a level of performance and control unequaled by its competition. Crate Audio mixers are the result of our many years of experience with high-performance audio equipment combined with our extensive research and development procedures and guided by our inherent love of musical performances. Each mixer is built using a variety of innovative construction methods making it truly reliable and incredibly roadworthy. Its diverse features offer you an extremely high degree of versatility and flexibility regardless of application and it is designed to keep you constantly in total control of your performing environment, always with the best possible sound.

Features:
Crate Audio mixers combine the latest technology with contemporary styling and flexible features. Exceptionally low noise, incredible headroom and outstanding features make the Crate Audio mixer perfect for use on stage, in the home studio, or for institutional use. This unique mixer offers stereo Tape In and Out jacks, switchable Phantom Power, a level-controllable Headphones jack, dual 5-step LED ladders, and more. Each of the three mono input channels offers you the choice of balanced XLR Low-Z or balanced 1/4" Hi-Z Input jacks, a Mic/Line input gain selector switch, two bands of equalization, a Low Cut switch, a Pan control, and an Aux send. Gain controls and peak LEDs for each mono channel allow for optimum signal-to-noise ratios. An Insert jack is provided on channels 1 and 2 for connecting external signal processors. Two stereo line-level input channels are provided for additional flexibility. Every channel features a PFL (pre-fader listen) switch for increased versatility and control. The color-coded knobs help you know at a glance if youre reaching for an EQ control, a Pan pot or a level control.

About this Manual:

This manual is the compilation of many hours of discussions with engineers, musicians, experts in the field of sound reproduction and novices. While we strive to provide as comprehensive and informative a manual as possible, we realize we cannot convey every application imaginable or answer every possible question. We have endeavored to cover as much as is practical in this owners manual and have provided suggested wiring diagrams for you to use as a starting point for your application.

CMX32 Stereo Console Mixer

The Mono Input Channels (1 3):
1 MIC/LINE: A combination jack: an XLR jack for balanced Low-Z mic inputs and a Tip/Ring/Sleeve 1/4 jack for balanced Hi-Z mics, instruments, drum machines, and similar high impedance line level signals. When using a condenser mic, the Phantom Power switch (#29, page 6) must be activated. INSERT: A Tip/Ring/Sleeve 1/4 jack for adding an external signal processor to the channel. The wiring diagram for this jack is shown on page 13. Applications information is shown on pages 8 13. GAIN: Adjusts the input signal level. Proper setting causes the Peak LED (#9) to flash at strong input signals. LINE/MIC: To properly match the channels input sensitivity to the input signal level set this switch to the Line position (switch up) when using a line level signal (keyboards, drum machines, etc.) and the Mic position (switch down) when using a mic level signal. HIGH: Controls the high frequency level for the channel. Allows 15dB @ 12kHz. Shelving type. LOW: This controls the low frequency level for the channel. Allows 15dB @ 70Hz. Shelving type. Additional EQ information is on page 14. LOW CUT: Reduces the low frequency output of the channel at a rate of 18dB per octave at 75Hz. Active in the up position. AUX: Controls the level of the signal sent from the channel to the Aux output jack (#22). Use as a monitor send or as an effects loop send (see page 13). PEAK LED: Illuminates when the input signal level is within 6dB of clipping. Proper setting of the Gain control (#3) will cause this LED to flash only on strong input signals.

1
3 4

5 6

7 8

8 9 10 11 12

10 PAN: Divides the signal proportionally between the left and right channels of the Main L/R fader (#33). 11 PFL: This switch, when depressed, sends the channels signal to the Monitor master control (#34). The Output LED Meters (#30) are also switched to monitor this pre-fader signal. The PFL LED (#27) illuminates to indicate that the Headphones (#23), Monitor (#25) and LED Meters (#30) are now responding to the PFL selection. 12 LEVEL: Controls the level of the signal sent to the Main L/R fader (#33).

CMX32 Stereo Console Mixer

The Stereo Input Channels (4 7):
13 LEFT/MONO: A Tip/Sleeve 1/4 jack for instruments, drum machines, tape/CD channels and similar signals. For stereo inputs use this jack for the left channel input and the Right jack (#14) for the right channel input. For mono inputs use this jack only. 14 RIGHT: A Tip/Sleeve 1/4 jack for instruments, drum machines, tape/CD channels and similar signals. For stereo inputs use this jack for the right channel input and the Left/Mono jack (#13) for the left channel input. For mono inputs use the Left/Mono jack (#13) only. 15 AUX: Controls level of signal sent from the channel to the Aux output jack (#22). Use as a monitor send or an effects loop send. 16 +4/-10 SWITCH: This sets the input sensitivity of the channel to either +4dBv for use with professional equipment (such as DAT players, mic preamps, etc.) or -10dBv for use with semipro equipment (such as tape decks, CD players, etc.). 17 BAL: Divides the signal proportionally between the left and right channels of the Main L/R fader (#33).

13 14

15

16

17 18 19

18 PFL: This switch, when depressed, sends the channels signal to the Monitor master control (#34). The Output LED Meters (#30) are also switched to monitor this pre-fader signal. The PFL LED (#27) illuminates to indicate that the Headphones (#23), Monitor (#25) and LED Meters (#30) are now responding to the PFL selection. 19 FADER: Controls the level of the signal sent to the Main L/R fader (#33).

15

16

17 18 19

CMX32 Stereo Console Mixer

The Master Section:
20 21
20 POWER: Use this switch to turn the mixer on ( depressed) and off. 21 POWER CONNECTOR: Fasten the threaded collar of the supplied AC power supply to this connector. Align the pins of the power supply with those of the connector, press into place, then tighten the threaded collar onto the connector securely. 22 AUX: Sends the Aux signals to an external device. The mix at this jack is determined by the setting of each channels Aux control (#8, #15).

22

23

24 25

26

23 HEADPHONES: Normal operation: monitors the Main L/R signals. When one or more of the PFL buttons are depressed the signal at this jack is switched to monitor only the PFL selection(s). The signal level at this jack is controlled by the Monitor master control (#34).

29 27 30 28

24 MAIN OUTS: These balanced jacks send the Main L/R output signals to the house amplifier(s). (See pages 8-12.) The signal level at these jacks is controlled by the Main L/R fader (#33). 25 MONITOR OUTS: These balanced jacks send the Monitor output signals to the local reference monitor amplifier(s). (See pages 8-12.) The signal level at these jacks is controlled by the Monitor master control (#34).

31 33 32

26 TAPE IN/TAPE OUT: Connect to the record and play jacks of an external tape deck. (See page 13.) 27 PFL LED: This LED illuminates when any of the PFL switches are depressed, indicating that the Meter (#30) is monitoring a PFL selection. 28 POWER LED: This LED illuminates when the mixer is plugged into an AC source and the Power switch (#20) is at the On position ( depressed). 29 PHANTOM POWER: When using any condenser microphone that requires phantom power slide this switch to the On position (switch up). NOTE: Turn the master faders and monitor controls down to minimum when turning the phantom power on and off to avoid transient signals from entering your amplifier(s).

34

CMX32 Stereo Console Mixer

The Master Section (continued):
20 21

22

23

24 25

26

30 METER: This dual 5-stage LED meter monitors the Main L/R output signals under normal conditions. If any of the PFL switches are depressed, the PFL LED (#27) will illuminate and the meters will monitor the PFL source(s). The Peak LEDs will illuminate whenever the output signal is near clipping. If this happens, reduce the master faders until the Peak LEDs no longer flash. 31 TAPE IN: Depress the left Tape In switch to send the signal from the Tape In jacks (#26) to the Monitor master control (#34). Depress the right Tape In switch to send the signal from the Tape In jacks (#26) to the Main L/R fader (#33). 32 AUX: Depress this switch to send the signal from the Aux controls (#8, #15) to the Monitor master control (#34). 33 MAIN L/R FADER: Controls the Main master signal level sent to the Main Left/Right jacks (#24). 34 MONITOR: Controls the level of the signal sent to the Monitor jacks (#25) and to the Headphones jack (#23).

29 27 30 28

31 33 32

34

CMX32 Stereo Console Mixer

Applications: Basic Mono Operation:
This example shows how the mixer and one stereo power amplifier* may be used to run both the house speakers and the stage monitors. Connect a signal cable between the mixers Left Main Output jack and the power amps Channel 1 Input jack (A). Connect another signal cable between the mixers Aux output jack and the amps Channel 2 Input jack (B). A graphic equalizer may be included in the signal chain as shown. Connect a speaker cable between the power amps Channel 1 Speaker Output and the house speakers (C). Connect another speaker cable between the amps Channel 2 Speaker Output and the monitor speakers (D). Use the mixers Main L/R Fader to adjust the house volume level and the Aux controls to adjust the level of the mix going to the monitors.
*Two mono amplifiers may be used in place of the stereo power amplifier.

HOUSE SPEAKERS (P12, P15, PE12, PE15, etc.) MONITORS (UFM12H, UFM15H) STEREO POWER AMP (SPA1400, SPA2000) C
CH.1 OUT

D
CH.2 OUT

CH.1 IN CH.1 OUT

CH.2 IN

EQUALIZER (LS2-215, LS3-231)

CH.2 OUT

VOCAL MIC

CH.1 IN

CH.2 IN

AUX OUT

EFFECTS, COMP./LIMITERS, EQUALIZERS (SM1SP, SM4CL, SM3PE etc.) in

out in out

LEFT OUT

HEADPHONES

R out L out

KEYBOARD

GUITAR BASS D.I. BOX D.I. BOX DRUM MACHINE

L/Mono out UNBAL. SIGNAL CABLE BAL. OR UNBAL. SIGNAL CABLE SPEAKER CABLE (Cable differences illustrated on page 14.)

OR SUB-MIX

Please note that the sample connections shown in the Applications sections are NOT absolute mandates as to how to connect your sound system. They are merely intended to provide a springboard from which you may launch the system that will best suit your particular needs.

CMX32 Stereo Console Mixer

Applications: Home Studio:
In this example the Main L/R outputs are connected to a computer through a compressor. The Monitor outputs are connected to the monitor power amp which drives the studio monitors. The output of the computer may be connected to the stereo channel 6/7 of the mixer and the remaining audio sources may be connected to the various other inputs as shown. With this type of setup you will need to establish two different buses. Use the Main L/R bus to send a signal to the computer for recording and the Aux bus for signals to be monitored, but not recorded. Start with all of the channel level controls rotated fully counter clockwise, and the Aux switch in the Monitor Master Section depressed. In this state you can adjust the mix with the channel Aux controls and play along with the computer, but not record (for practicing a take). Start the playback on the computer and play along with its output. When you are ready to record another instrument, turn up the main Level control for that channel. Now you can monitor both the Aux (monitor) mix and the channel you wish to record without having any bleed between the two.
NOTE: You should set your computer software so that it does not send the signal it is recording back through the computers audio outputs. If this is not done a slapback delay could result due to the latency of the computer.

STUDIO MONITORS (PE6, PE26I) POWER AMP (SPA1400, SPA2000) VOCAL MIC
CH.1 IN CH.2 IN CH.2 OUT

CH.1 OUT

COMP./LIMITER (SM4CL)
L&R MAIN OUTS L&R MON OUTS

DAT RECORDER/CD BURNER

R in L out L in

EFFECTS, COMP./LIMITERS, EQUALIZERS (SM1SP, SM4CL, SM3PE etc.) in

out in out R out L out

R out

COMPUTER

KEYBOARD, DRUM MACHINE

GUITAR BASS D.I. BOX D.I. BOX

UNBAL. SIGNAL CABLE BAL. OR UNBAL. SIGNAL CABLE SPEAKER CABLE (Cable differences illustrated on page 14.)

CMX32 Stereo Console Mixer

Applications: DJ Setup:
In this example the mixer is connected to a stereo power amplifier which drives the house speakers. Connect a pair of signal cables between the mixers Main Left and Right jacks and the stereo power amplifiers* Channel 1 and Channel 2 Input jacks (A). Connect a speaker cable between the power amps Channel 1 Speaker Output and one of the house speakers (B). Connect another speaker cable between the power amps Channel 2 Speaker Output and the other house speaker (C). Use the mixers Main L/R fader to adjust the house volume level. (To keep the turntable signal in true stereo, the Pan pot for the left channel must be rotated fully counterclockwise and the Pan pot for the right channel must be rotated fully clockwise.
*Two matched mono amplifiers may be used in place of the stereo power amplifier.

HOUSE SPEAKERS (P12, P15, PE12, PE15, etc.)

STEREO POWER AMP (SPA1400, SPA2000) TURNTABLE B

CH.1 OUT CH.1 IN CH.1 OUT CH.2 IN

C
CH.2 OUT

EQUALIZER CH.2 (LS2-215, LS3-231) OUT

CH.2 IN

CH.1 IN

MINI MIXER (DJMX2)

R out L out MAIN OUT RIGHT MAIN OUT LEFT

HEADPHONES

WIRELESS MIC

TURNTABLE
in out

CD PLAYER
SETTINGS FOR TURNTABLE CHANNEL PAN POTS
out R out

COMP./LIMITER (SM4CL)

L out

CASSETTE PLAYER
R out

WIRELESS MIC RECEIVER

L out

UNBAL. SIGNAL CABLE BAL. OR UNBAL. SIGNAL CABLE SPEAKER CABLE (Cable differences illustrated on page 14.)

10

CMX32 Stereo Console Mixer

Applications: House of Worship:
In this example the mixers Main Outs are used for the sanctuary mix and the Aux outs are used for a platform mix. Connect signal cables between the mixers Main Left and Right jacks and the Input jacks of the sanctuary speakers stereo power amp* (A). Connect another set of signal cable between the mixers Aux Out jack between the Input jack of the monitor speakers power amp (B). Connect speaker cables between the sanctuary power amps Speaker Outputs and the sanctuary speakers (C,D). Connect another speaker cable between the monitor power amps Speaker Output and the platform monitor speakers (E). Use the Main L/R fader to adust the level of the sanctuary speakers. Use the Aux controls to adjust the mix going to the platform monitors.
*Two matched mono amplifiers may be used in place of the stereo power amplifier.

SANCTUARY SPEAKERS (P12, P15, PE12, PE15, etc.) PLATFORM MONITORS (UFM12H, UFM15H)

E
OUT

C STEREO POWER AMP (SPA1400, SPA2000)

CH.1 OUT

D STEREO POWER AMP (SPA1400, SPA2000)

CH.2 OUT

IN

CH.1 IN

CH.2 IN

OUT

EQUALIZER (LS1-131)

CH.1 OUT

EQUALIZER (LS2-215, LS3-231)

CH.2 OUT

IN MAIN OUT LEFT

CH.1 IN MAIN OUT RIGHT

CH.2 IN

INSTRUMENT MIX
R out AUX OUT L out

LAVALIER MIC PULPIT MIC SINGER'S MIC

HEADPHONES

in out

CD PLAYER

COMP./LIMITER (SM4CL)

L out

R out

TAPE IN

TAPE OUT

CASSETTE PLAYER
RECORD

UNBAL. SIGNAL CABLE BAL. OR UNBAL. SIGNAL CABLE SPEAKER CABLE (Cable differences illustrated on page 14.)

PLAYBACK

11

CMX32 Stereo Console Mixer

Applications: Separating Vocals and Instruments:
In this example the Pan controls on all of the vocal mic channels are rotated fully clockwise to assign all vocal mics to the right channel. The instrument channels are then all assigned to the left channel by rotating their Pan controls fully counter clockwise. Two pairs of speakers are required: one for the vocals and another for the instruments. An additional amplifier will drive the monitors. The vocal speakers should be placed on top of the instrument speakers to minimize interference between the sounds from the two sets of speakers. Connect a pair of signal cables between the mixers Main Left and Right jacks and the house power amps Channel 1 and Channel 2 Input jacks (A). Connect a signal cable between the mixers Aux Out jack and the monitor power amps Input jack (B). Connect a speaker cable between the stereo power amps Channel 1 Speaker Output and the instrument speakers (C). Connect another speaker cable between the power amps Channel 2 Speaker Output and the vocal speakers (D). Connect a third speaker cable between the monitor power amps Speaker Output and the monitor speakers (E). Use the mixers Main L/R fader to adjust the house volume level and the Aux controls to adjust the level of the mix going to the monitors.

INSTRUMENT SPEAKERS MONITORS (UFM12H, UFM15H) (P12, P15, PE12, PE15, etc.)

VOCAL SPEAKERS

E
OUT

(SPA1400, SPA2000) C
CH.1 OUT

D STEREO POWER AMP (SPA1400, SPA2000)

CH.2 OUT

IN OUT

EQUALIZER (LS1-131)
CH.1 IN CH.2 IN

IN

CH.1 OUT

EQUALIZER (LS2-215, LS3-231)

CH.2 OUT

AUX OUT

CH.1 IN

CH.2 IN

DRUM/PERCUSSION MIX
out

VOCAL MICS

in out in out UNBAL. SIGNAL CABLE BAL. OR UNBAL. SIGNAL CABLE SPEAKER CABLE (Cable differences illustrated on page 14.)

COMP./LIMITERS, EQUALIZERS (SM4CL, SM3PE etc.)

SET ALL VOCAL PAN POTS FULLY CLOCKWISE

SET ALL INSTRUMENT PAN POTS FULLY COUNTER CLOCKWISE

12

MAIN OUT LEFT

out

MAIN OUT RIGHT

INSTRUMENT MIX

CMX32 Stereo Console Mixer

Applications: External Effects and Recorders:
There are several ways to use the CMX32 with external signal processors (such as effects and delay units, limiters, etc.). For example, either (or both) of the first two mono channels may have its own processor patched in by use of the Insert jack (#2, page 4). Effects may also be used by sending a signal from the Aux output jack into the processor, then from the processor to one of the mixers stereo input channels. The illustrations below show some of the different connections. The signal level for the Aux output jack is controlled by the setting of each channels Aux controls. Connecting a tape deck for recording and playback is accomplished as follows: Connect the Playback (Line Out) of the deck to the mixers Tape In jacks. Connect the Record (Line In) of the deck to the mixers Tape Out jacks. If the tape player does not have a level control, a preamp or stereo attenuator may be needed to adjust the level of the tape players output signal. To avoid feedback keep the tape players output signal level at minimum when recording!

NOTE: When using the stereo channel as an effects return, rotate its Aux control (#15) fully counterclockwise to avoid feedback.

13

CMX32 Stereo Console Mixer

Equalization Diagrams:
Each mono input channel of the CMX32 has two bands of equalization which allows you to alter the tonal characteristics of the input signal. The EQs may be used to add color or to compensate for inadequacies of the original signal. They also may be used to cut frequencies which cause unnatural sounds or to de-emphasize over-pronounced tones and to reduce acoustic feedback. Each EQ has a range of 30dB (+/-15dB). The high EQ for each channel is a shelving type, with an action point (+6dB) at 2.5kHz, reaching maximum effect at 12kHz and above. The low EQ for each channel is a shelving type with an action point (+6dB) at 300Hz, reaching maximum effect at 70Hz and below.
+30

+20

+10

0dB

-10

-20

20

Hz

50

100

200

500

1k

2k

5k

10k

20k

40k

Differences in Cable Types:

This manual makes reference to different types of cables; in particular, balanced and unbalanced signal cables and speaker cables. These are not the only types of cables associated with sound reinforcement, but they are similar enough to each other to warrant a more descriptive explanation. The three 1/4-terminated cables below may look alike at first, but upon closer examination their differences become apparent. These cables are illustrated below.

BALANCED SIGNAL CABLE:

TIP RING TIP
TIP = SIGNAL "+" (IN-PHASE) RING = SIGNAL "-" (OUT-OF-PHASE) SLEEVE = SHIELD

SLEEVE

RING

SLEEVE

UNBALANCED SIGNAL CABLE:

TIP TIP
TIP = SIGNAL SLEEVE = SHIELD

Care must be taken to avoid using SIGNAL cables in place of SPEAKER cables and vice-versa. Signal cables arent made to handle the power which speaker cables do; speaker cables are not shielded and pick up external signals, resulting in excessive hum and buzzing.

SLEEVE

SLEEVE

SPEAKER CABLE:
TIP TIP
TIP = SIGNAL "+" SLEEVE = SIGNAL "-" *Speaker cables typically do not use or require a shield.

SLEEVE

SLEEVE

14

CMX32 Stereo Console Mixer

System Block Diagram:
LEFT RIGHT AUX PFL L PFL R

8dB PAD

CH. 1 3 3: :
+48V MIC/LINE LINE
R T

L PEAK LOW CUT LEVEL EQ PRE

HIGH LOW

TAPE OUT POST AUX 8dB PAD R

MIC
2 3

GAIN

PAN PFL

MAIN L/R

MAIN L

INSERT (CH. 1 & 2 ONLY)

R T

MAIN R PFL CTL

BAL

CH. 4,6:

LEVEL POST +4/-10 PRE PFL(a) TAPE TO MONITOR OFF ON POST OFF +4/-10 PRE AUX(b) L OFF TAPE IN R OFF ON TAPE IN PFL CTL PFL CTL ON ON AUX TO MONITOR OFF ON OFF ON AUX(a) LED METERS L MONITOR R MONITOR HEAD PHONES

CH. 5,6:

PFL(b) PFL CTL LEVEL

BAL

SUM

AUX OUT

Gain Level Diagram:

MIC LINE +30 +20 MAX LINE +26dB +21dB MAX. INPUT - SET GAIN AS NECESSARY +3dB ALL LEVELS @NOMINAL, GAINS @"10" -17dB LINE -35dB FULL GAIN MIC -49dB LINE -55dB MIC -67dB -7dB -13dB -23dB +15dB +21dB MAIN OUT +4dB INSERT EQ FADER PAN MASTER FADER

+10 MAX MIC +13dB 0 -10 -20 -30 -40 -50 -60 -70

-120 dB

NOISE FLOOR -120dB

LEFT RIGHT AUX PFL L PFL R

15

CMX32 Stereo Console Mixer

Technical Specifications
SYSTEM INPUTS 3 mono mic/line and 2 stereo line input channels 1 stereo tape return CHANNELS 1-3 Mic/Line 1 combination jack: 3-pin XLR (balanced, pin 2 = in phase) Transformerless electronically balanced 1k ohm load impedance 1 1/4 phone jack (balanced) 10k ohm load impedance CHANNELS 4-7 High-Z Line 2 1/4 phone jacks 22k ohm load impedance EQUIVALENT INPUT NOISE Typically < -129dB @ 20 - 20k equivalent bandwidth unweighted with 200 ohm source impedance COMMON MODE REJECTION Typically -90dB min., -70dB @ 50Hz PEAK INDICATOR Indicates 6dB headroom remaining MAXIMUM SIGNAL ACCEPTED Low-Z Mic 3.46V RMS (13dBv) High-Z Line 15.9V RMS (26dBv) CHANNEL GAIN Typically 52dB adjustment range CHANNEL INPUT SENSITIVITY Low-Z Mic All levels up: 8.7mV RMS max. (43dB gain) Channel up only: 2.7mV RMS max. (53dB gain) All levels +10: .28mV RMS max. (73dB gain) High-Z Line All levels up: 87mV RMS max. (23dB gain) Channel up only: 27mV RMS max. (33dB gain) All levels +10: 28mV RMS max. (53dB gain) CHANNEL 1-3 EQ (ACTIVE) High +/-15dB @ 12kHz shelving Low +/-15dB @ 70Hz shelving TAPE INPUTS RCA jacks 15k ohm input impedance Max. Sensitivity -20dBv (80mV RMS) Max. Input Accepted +30dBv (24.5V RMS) AUX/EFFECTS OUT / TAPE OUT 1/4 phone jacks +4dBv (1.23V RMS) @ High-Z nominal output RCA jacks +4dBv (1.23V RMS) @ High-Z nominal output PHANTOM POWER +48VDC applied to pins 2 and 3 of XLR inputs LEFT & RIGHT OUTPUTS Unbalanced out @ 10k ohm load impedance Balanced @ 3k ohm load impedance +4dBv (1.23V RMS) nominal output 18dBv (6V RMS) max. output DUAL OUTPUT LED INDICATORS Type: 5 LED quasi-peak Calibration: Calibrated to indicate +0dBv @ 3rd LED Range: -13dBv to +17dBv Signals Read: Left and Right Main Outs or PFL Bus RESIDUAL NOISE 90dB below 1.23V RMS min. with all levels down 60dB below 1.23V RMS with Master Level up full and one channel up full TOTAL HARMONIC DISTORTION < 0.1% @ 1kHz input @ 5V RMS output (typically 0.05%) measured from Mic In to Main Out (EQ flat) with Master @ nominal 0 setting (-10dB from max. gain), and Gain and Channel Level at max. (At lower input signal levels, measurement is limited by the noise floor) SIZE AND WEIGHT 2.2 H x 7.5 W x 9.1 D (59mm x 191mm x 231mm) 5 lbs (2.3 kg) POWER REQUIREMENTS 16.8VAC x 2 @500mA

Due to ongoing product development and improvement, the specifications contained herein are subject to change without notice.

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2002 SLM Electronics, Inc. A Division of St. Louis Music, Inc. 1400 Ferguson Avenue St. Louis, MO 63133 U.S.A. 18-357-01 02/02